Delia Cadman (b. New York, 1999) is a Brooklyn-based artist working across sculpture, writing, installation and curation.
In search of _____ , Cadman appropriates architectures of looking and exchange, including peep-show booths, confessionals, scaffolds, barriers, stalls, plinths, cash, text, scents, and corners that discipline the body in relation to who or what can and cannot be seen.
Through building, especially with plywood, and later staging, Cadman sets the conditions for concealment and exposure, attention, risk, melancholia, criminality, ecstasy, and the sacred. Cadman is interested in absence that is concrete: the ways an object, as incarnation, can seduce through blankness or impenetrability.
Alongside their studio practice, they are the founder and lead organizer of the project space Clubland Counterfeit Gallery Project, a shipping-container gallery dedicated to non-coercive forms of social organization prioritizing disunity, and individual consent.
Cadman is a current MFA sculpture student at Bard College. They received a BFA from Cooper Union in 2021. Recent exhibitions of their work include the solo exhibition The Sunshine of Paradise Alley at Trestle Art Space (Brooklyn, NY; 2024), as well as group exhibitions Conditions at Flush Gallery (Brooklyn, NY; 2026), Moral Injury at Hercules Studio Program (New York, NY; 2024).